貌似剛開始是為了google神樣的相關(guān)資料最后搜到了這個(gè)動(dòng)畫，56分鐘的片子，天井桟敷解體后由J.A.Seazer接手的演劇實(shí)驗(yàn)室萬有引力還有月蝕歌劇團(tuán)都在里面，月蝕歌劇團(tuán)也合作過寺山修司的作品，這一代人幾乎都離不開寺山修司的說，三上寬那嘶啞的嗓音在呻吟，好討厭==這里依舊是神樣負(fù)責(zé)音樂，但實(shí)話說，效果并不是太好（黑線），果然寺山殿去世的打擊，神樣幾年也沒緩過來，失去了基友，消瘦的不成人形（大誤）。

這個(gè)動(dòng)畫也沒有宣傳介紹的那么猛，一點(diǎn)也不重口（失望），動(dòng)畫制作也是要多簡(jiǎn)陋有多簡(jiǎn)陋=L=但多虧了這個(gè)噱頭下載速度奇快。片子超現(xiàn)實(shí)，但跟重口的標(biāo)準(zhǔn)還有一大節(jié)距離，估計(jì)踩到標(biāo)準(zhǔn)后片子也就只能地下流通了?？嗝倥非笮腋s屢遭失敗，常見的故事用奇幻暴力情色的方式表現(xiàn)出來，在孩子面前赤裸裸的放著A片，大概就是這種調(diào)子吧。

做成動(dòng)畫后一點(diǎn)也燃不起來，傳統(tǒng)幻燈劇模式雖然很有愛，但這里各種粗糙，漫畫反而更帶感，動(dòng)畫化后一點(diǎn)也不獵奇太打擊人了，而且很簡(jiǎn)陋，完全比不上原畫，雖然有神樣的音樂，但不夠味啦。音樂也像是從神樣的工作室里隨手撿來的糟糕貨不良品，果然沒了寺山乃就不行了嗎0A0（嚴(yán)重大誤）

作品原畫是丸尾末廣，他的漫畫本身倒是十分重口，估計(jì)寫介紹的那位親知道丸尾末廣立馬就做出了判斷，不過這個(gè)判斷不太適用在動(dòng)畫上就是了，漫畫的尺度要寬得多，畫風(fēng)也更能表現(xiàn)出丸尾的特色。

丸尾末廣經(jīng)歷坎坷，畫工超棒，喜好和風(fēng)，盡管是血肉橫飛的混亂場(chǎng)面，但筆鋒干凈，勁道十足，底下層赤裸裸的暴力、性、SM、不堪通通表現(xiàn)了出來，不看則罷，一看就停不下來，把人類最真實(shí)的一面解剖展示，極端但尖銳，雖然有些地方是既惡心又變態(tài)，穢物部分我無法接受，但暴力美學(xué)愛好者們都會(huì)成為他的腦殘粉。老外特好這一口，許多作品早已有各國譯本了=L=

復(fù)習(xí)了漫畫后發(fā)現(xiàn)《少女椿》集中了丸尾的N多招牌模式，像舔眼珠、侏儒、畸形人、妖怪、馬戲團(tuán)等等，我更喜歡丸尾的插畫，以妖怪為題的，以日本傳說為題的，百看不厭，除了穢物，其他都很棒=w=現(xiàn)在想來，寺山修司的某些宣傳畫可能也是出自丸尾之手，感覺太像了，待考證吧。

另外，丸尾為紐約前衛(wèi)猶太音樂家John Zorn 1990年著名專輯《Naked City》所繪的內(nèi)頁（好贊！?。匀毡竟糯臒o慘繪作品《英名二十八眾句》為藍(lán)本創(chuàng)作的《新英名二十八眾句》，更是屢獲我的心，這畫冊(cè)已經(jīng)絕版，現(xiàn)在只能在網(wǎng)上看看了（哭）。


片名：地下幻燈劇畫－少女椿
導(dǎo)演: 絵津久秋
編劇: 原田浩
原作：丸尾末廣
類型: 動(dòng)畫 / 劇情 / 恐怖 /
制片國家/地區(qū): 日本
語言: 日語
上映日期: 1992
片長(zhǎng): 56 分鐘

丸尾作品 　　

單行本目錄∶

《薔薇色的怪物》 青林堂 1982.7.25 　　
《夢(mèng)的Q-SAKU》 青林堂 1982.12.25 　　
《丸尾地獄》 (限定發(fā)行一千本) 青林堂 1988.8 　　
《DDT》 青林堂 1983.11.25 　　
《少女唾沫》 青林堂 1984.9.25 　　
《KINRANDONSU》 青林堂 1985.9.1 　　
《國立少年》 青林堂 1989.8.1 　　
《丸尾末廣.ONLY YOU》 東京成人俱樂部 1985.12.25 　　
《臆想狂明星》 河出書房 1986.1.31 　
《殘酷大全之墮胎》 　

動(dòng)畫作品：

《少女椿》

記于2012-04-05 17:26

         世間最可怕的大概就是從噩夢(mèng)中醒來時(shí)，卻發(fā)覺現(xiàn)實(shí)更是一場(chǎng)噩夢(mèng)。
     尾丸末廣的這部怪異之作風(fēng)格上有點(diǎn)類似于大衛(wèi)林奇的那部備受爭(zhēng)議的《雙峰之與火同行》，滿篇皆充斥著種種的怪異荒誕的虛幻想象，但不同的是《少女樁》保留了日本浮世繪的表現(xiàn)方式，以舊式廣告畫為基調(diào)，充分的展現(xiàn)了日本人所特有的種種低級(jí)趣味，因此顯得更為怪誕，荒謬。但此種怪誕絕又不是作者一廂情愿的想象或是其特有的特殊嗜好，它卻是來源于我們共有的突發(fā)的幻想或是意識(shí)深處完全偏離正常世界的原始沖動(dòng)。作者只是在這個(gè)看似光鮮的的世界里描繪出其陰影下的那些永無盡頭的黑暗........

An old friend of mine and an avid collector of 16 and 35mm film prints follows a very strict regime when watching movies: "The celluloid must run through a projector in a theater with a big screen and a crowd, the way those movies were meant to be seen. Watching video copies of them on a couch at home doesn't count. It doesn't provide the true experience of the work in question. You can't say that you have seen a film if you've just watched a video of it."

This is fair enough for most films. But Hiroshi Harada, the director of Shojo Tsubaki (let's stay with the original title for the time being) sets the bar much, much higher. He doesn't even allow his film to be shown in movie theaters in Japan, yet alone let them be consumed on video or DVD.

For his screenings, he created incredibly elaborate "freak show" events which encompass live theater, live music, acrobatic acts, wild stage settings, freaky characters let loose on the audience... and a lot of secrecy. His flyers announcing shows and even those looking for performers were deliberately confusing - nobody was supposed to know what was really going on. In the early years, which means the early 1990s after the film's premiere in 1992, he wouldn't even want anyone to know what kind of show Shojo Tsubaki was at all: a movie, an anime, live theater?

"It would have been not interesting if I had given all that info in advance." Harada wrote me in a recent e-mail. "I wanted surprise. The audience suddenly encountering something totally unexpected - that was the point."

Now, what is Shojo Tsubaki? Well, it's animated, it's on celluloid, it is about a poor young girl who lives a hard life in a freak show circus, and its scenes often switch from being extremely kawaii to extremely graphic, violent, and at times oozing into the territory of far-out sexual fetishism. Sex among disfigured freaks, eye-ball-licking, rape by a disgusting, diseased... it's all there. And yet, Midori, the main character, does find true love here... and then things turn violent again... You never know where the movie is heading. You can't even guess what dangers or pleasures might be coming Midori's way from one second to the next.

Shojo Tsubaki is set in the early years of the Showa emperor's reign, the late 1920s in the Western calender. The original inspiration for the film dates from around the same time: a kami shibai performance going under the same title. Kami shibai translates to 'paper play' or 'picture show' and it dates back to the middle ages. A storyteller would tell a fantastical story in busy market places or wherever else he could find an audience, illustrating his story with a series of drawings. Often, his story was written on the back of the cardboards displaying the pictures to make it easier to do the performance and also to enable the storyteller to sell copies of his act afterwards.

Shojo Tsubaki (which literally means Camelia Girl) is said to have been originally created by a legendary kami shibai performer from the 1920s working under the name Seiun. It was a lengthy performance back then, consisting of 21 chapters and lasting for several hours. One of those original sets of pictures still survives and the play actually has been performed at times as part of the Shojo Tsubaki film events.

The paper play tells the story of a poor family whose father went too far into gambling debts. He runs away and lets the others fend for themselves. Midori, his daughter, goes into the business of flower selling. It's a sad job and one day she is kidnapped by two men and sold to a travelling girl's revue theater where she performs under the name Tsubaki Midori.

In the early 1980s, underground manga artist Suehiro Maruo began to turn the old kami shibai into one of his own disturbing picture stories. The earliest evidence I could dig up was in his 1982 book Das Ungetum der Rosenstck in which the beginning of his unique take on the Midori story is shaping up. The title of the book is of course some sort of flawed German. Though his grasp of the language might have been lacking, Maruo was deeply influenced by 1920s German expressionism and his heroes were Nosferatu, Marlene Dietrich and Doctor Caligari. They all figure prominently in the book - and the drawing style is a fascinating mix of Weimar German influences and vintage Japanese. Truly mesmerizing stuff.

In 1984, Maruo eventually had his final book-length manga of Shojo Tsubaki out in the stores. As already outlined in his Shojo Tsubaki chapter of Das Ungetum, the old kami shibai became now something new altogether... a full blown girl-in-the-freakshow story freely mixing cuteness, violence, perversity and a painstaking accuracy in the depiction of 1920s Japan and its outlaw characters to mindblowing impact.

Enter Harada. He was a young overworked pen-and-inker in the animation industry in 1970's Japan and he hated it. He realized that artistic ambition and the need to sustain oneself had always been a great conflict artists had to fight out with themselves ... but the animation industry didn't even give him the freedom to choose one or the other. The boss told the guys on the drawing boards what to do and they just had to hurry on with their mindnumbing work. He wanted out of the system and he did manage eventually to get out. He quit his job and premiered his first independent animated production City Nocturne in 1979. In 1985, he had 2 new animated works ready for release: Eternal Paradise (Kagirinaki Rakuen) and Lullaby to the Big Sleep (Nido to Mezamenu Komori Uta). The latter, shot on Super 8 and 27 minutes long, told of the adventures of a young boy getting sucked into the violent demonstrations held by leftist groups resisting the construction of Narita Airport. It played the Pia Film Festival in Tokyo, the main showcase for young Japanese independent cinema. Jury member and punk / biker movie director Sogo Ishii loved it and thanks to his lobbying, Harada won a major festival award.

Lullaby had already strong Maruo-esque tendencies: an unpredictable, sexually-charged story, experimental techniques and a main character who underwent a wide variety of forms of bizarre abuse. Even the drawing style appears to be heavily inspired by Maruo. So it seems almost logical that Harada choose a real Maruo as his next project: Shojo Tsubaki.

Knowing that this would demand much bigger resources than his previous films, he went back to the studios and tried to find financing. None was to be found at all. The subject matter of Maruo's book simply scared all potential investors away. Undeterred, Harada sacrificed his life savings, even went to money lending outfits to keep going. Maruo himself had told him "to make the film any way he wanted", as Harada told me. They did stay in close contact during the production period, though, with Maruo providing readings of old-fashioned kanji he had used in his book, advising on what colors to use for scenes and otherwise providing a great influx of ideas - some of which Harada then used. Maruo also lent his original source material to Harada, photo books on Tokyo of the period for example.

Harada started the great work in 1987 - and then continued drawing for 5 years, all by himself. Every single image of the movie was drawn by just one man alone! Harada did however receive a great deal of volunteer support from the Tokyo underground scene of the time for the final completion of his work: from musicians who provided the soundtrack, animators, people at independent documentary film studios, theater groups, even S/M clubs.

In 1992, the premiere of Shojo Tsubaki was held as a giant spectacle in a red tent on the grounds of Mitake Jinja, a Tokyo Shinto Shrine. Amidst strange decorations and exhibits, undergound theater group Aka Neko Za (Red Cat Theater) staged acts which are also performed by the freaks in the movie, and smoke was blown into the audience.

Here's what was projected onto the big screen: To a collage of violent freak show images, an announcer screams out what kind of an incredible story the audience is about to witness - in rhyming vintage carney lingo which almost no young Japanese would be able to understand. Then Midori, a poor girl about the age of 12, selling flowers in 1920s Tokyo. One of her regular customers is a strange man she calls "Mister Bowler Hat" due to the hat he wears. One night, she comes back home and finds her mother dead in her bed, rats already feading on her corpse. She runs away... With nowhere to go she turns to "Mr. Bowler Hat", who turns out to be a freak show impressario going under the name of Mr. Arashi. She joins his travelling circus... and right from the beginning becomes the focus of endless abuse by the real freaks, grotesquely disfigured perverts with bizarre fetishes and giant egos to boot. Relief comes in the form of Wonder Masanitsu, a magician who can squeeze his entire body through the tiny opening of a glass bottle. She falls in love with him but Masanitsu has powerful dark sides too...

It's an animation film, for sure, but the animation is extremely limited. In many instances, it's just a series of drawings, held together by music and dialogues... a modern-day kami shibai. Which of course is quite fitting to the origins of the tale and the time it takes place in.

More screenings of the film followed in rapid succession. Harada himself developed a new modus operandus of screening the work which made it even more difficult to access: he handed audience members who had made a reservation a map of a residential neighborhood. The people had to follow cryptic signs like dolls placed on street corners or folks in strange attire standing by the street to evenutally find an unassuming building and enter its basement. There they were handed candles and had to make their way through a dark labyrinth of corridors and rooms before they could enter the actual venue. Couples were separated, smoke was blown in, fans blew paper snippets resembling cherry blossom petals. While the film ran, theater group members threw objects at the audience that were also thrown around on screen...

In 1994, the film had its international premiere at the Orleans Biennale in France. It has since been shown at a number of Western festivals under a variety of titles like The Girl in the Freak Show or Midori - The Girl in the Freak Show, though without any of the trappings that come with the film in Japan. Harada wouldn't have been able to stage anything similar in a foreign country. The Japanese shows were difficult enough to arrange. Still, Midori stood her ground up on the Western screens, despite being all alone with the vicious freaks in the movie and the quiet lurkers in the seats. Poor girl... so many cruel things have been done to her...

That the film is now available on DVD in France under the title Midori with subtitles in 5 European languages for private home viewing might be the worst abuse Midori ever encountered, though. At home in Japan, however, the film can still be seen only on the rare occasions of a real full-blown freak event, the way it was meant to be seen....

發(fā)現(xiàn)關(guān)于這部的影評(píng)甚少，基調(diào)又千篇一律。無非是暗黑的社會(huì)，凄楚的少女。其實(shí)除了劇情推動(dòng)這些悲苦的主線，于我看來還有些別的。

討論劇情前先感嘆些關(guān)乎于觀感的問題。畫風(fēng)、配樂向來是入我眼的動(dòng)畫的必備要素。雖然透著濃濃的時(shí)代感，可是有一種伊藤潤(rùn)二漩渦般的代入感，與電影效果交相呼應(yīng)的就是最好畫風(fēng)，堪稱完美。特別是當(dāng)椿奔跑在一燈法師制造的幻境里，奔跑著尋覓印象中的街景，記憶中的家，回憶里的父母時(shí)，布景特別像紙版畫，有著模糊的震動(dòng)感，只有椿在畫面中是有顏色的。再配上不斷奔跑的腳步聲，到家門口放緩的靜謐感?，F(xiàn)代大片中制作美好回憶與凄冷現(xiàn)實(shí)的強(qiáng)烈反差感也不過如此。

談?wù)剟∏椤＜热晃野堰@部動(dòng)畫定義為愛情片，就先來說說愛情。觀影前，先百度了一下影片介紹，看到一些評(píng)論說整部電影唯一溫馨的就是椿和一燈法師相愛的時(shí)刻。我能說如果非要讓我快進(jìn)一個(gè)片段，就是這段么，不是因?yàn)槲姨岛诨蛱淠?，而是不忍心。這里說愛情，不如說是一種精神上的毒藥，就像一個(gè)在外喝酒應(yīng)酬活的像孫子的男人回家像大爺一樣打自己的女人，而這個(gè)被生活和男人冷漠以待的女人通常會(huì)抱怨但絕不會(huì)離開。這里的類比雖然不恰當(dāng)，可是同樣你會(huì)把這認(rèn)為是愛么。絕望的人又不甘愿于絕望的生活，對(duì)那種被需要的沉溺是有毒的。

說說我們的女主角，純情可人被生活不幸虐待依然滿懷希望的椿。直到最后一燈法師死去，她又回到了無盡循環(huán)的命運(yùn)中。這應(yīng)該是大多數(shù)人多椿的認(rèn)知。表面上劇中的椿一次又一次透露出期待的眼神，比如對(duì)那個(gè)陌生的怪人團(tuán)團(tuán)主，比如對(duì)給她名片的陌生人，再比如一燈法師制造的離開以后的幻境，椿真的是在一切幻想都破滅，最后崩潰痛哭中才墮落絕望了么？其實(shí)應(yīng)該更早，這三個(gè)哪個(gè)不是戲劇性的突如其來的希望，所以真實(shí)么？而一切不過是椿自己給自己帶著希望的幻想。
再看椿在認(rèn)識(shí)一燈法師后除了嬌羞以外，人物所表達(dá)的第一句話是這句。

你可以說這是一個(gè)心靈肉體被玷污了的女孩子對(duì)自己的經(jīng)歷所表達(dá)出的自卑，然而我們的椿在說出第一句為人物發(fā)聲的話之前，已經(jīng)是有兩次和法師纏綿的鏡頭了，更多的是動(dòng)情和享受，雖然沒有裸露的鏡頭，可是我更愿意說這才是妙思。電影里的每個(gè)配角都是變態(tài)，變態(tài)的極其純粹，極其裸露，甚至一絲不掛?？墒莾蓚€(gè)主角都是看起來再正常不過的人類，他們彼此接觸時(shí)看似包裹著外衣，毫不裸露，可是正常的人卻各有各的變態(tài)。所以到這里你還認(rèn)為直到最后一刻椿的內(nèi)心才崩潰痛苦的么？
說到這里我要說我在片中最喜歡的人物一燈法師。前面說正常人各有各的變態(tài)，雖然他長(zhǎng)得極其油膩，和我們美少女椿真的是不太般配，可是卻是最有光芒的人物，帶著小人物的愛與卑微。我愿意相信他是愛椿的，為什么？最后死前落地時(shí)的那個(gè)蘋果里椿永遠(yuǎn)都不會(huì)再回頭的背影和回蕩著的銀鈴般的笑聲（真的是銀鈴般！雖然知道是回憶椿開心時(shí)的模樣，可是猛一聽真嚇人！）

如果以愛為前提，那么一燈法師的一切行為是不是很好解釋。戲團(tuán)的人欺負(fù)椿的時(shí)候，他制造了讓椿變大的幻術(shù)?？噹性噲D接近椿的時(shí)候，他直接讓他去死。有人要挖掘椿當(dāng)明星的時(shí)候，他當(dāng)場(chǎng)發(fā)怒。我們看椿三次的反應(yīng)都是什么？驚嚇，害怕，委屈。一燈法師在面對(duì)椿的這些反應(yīng)又是什么，哄，哄，哄。有人欺負(fù)你，不許。有人接近你，不許。甚至是當(dāng)你有了更好的機(jī)會(huì)，不許，不可以，你只可以做我希望你做的，接受我讓你接受的。當(dāng)一切用哄難以實(shí)現(xiàn)的時(shí)候，一燈法師最后用的是什么？幻術(shù)啊，制造了一個(gè)幻術(shù)。這不就是騙么。整部電影最有批判性的一句話就是一燈法師指著觀眾說的

你看他其實(shí)才是清醒的那個(gè)人吧？在愛里卑微的人，用柔情和霸占掩飾自己的自卑，他何嘗不是指責(zé)著他自己。是不是和我們大多數(shù)人很像?？墒俏覟槭裁聪矚g他呢，不僅因?yàn)槟莻€(gè)蘋果，還因?yàn)樾﹦e的細(xì)節(jié)，讓我愿意相信他心中是有那么一點(diǎn)點(diǎn)美好和愛的。再來看看椿吧，說到現(xiàn)在你還覺得椿是愛一燈法師的么，說是恰好出現(xiàn)的一個(gè)人更恰當(dāng)吧。所以我說這是我最不忍心看的一段。甜蜜外衣里的殘忍比赤裸裸的殘忍更殘忍。

 最后說說結(jié)局吧。如果站在椿的角度看，要我說這是個(gè)完美結(jié)局。很多人看待作品的時(shí)候都覺得憧憬被現(xiàn)實(shí)打碎太值得同情了！那現(xiàn)實(shí)中呢，我們會(huì)說在現(xiàn)實(shí)里帶著希望生存的人最棒，其次是活在現(xiàn)實(shí)里的人，最后是活在憧憬里的人。這類人少數(shù)是思想的先驅(qū)者，大多數(shù)是精神病患者。我一度以為結(jié)尾可能是椿重新落入戲團(tuán)的折磨中從此一蹶不振?？墒谴荒闷鹆宋淦鞔蚱屏嘶镁常锩嬗兄圃烀篮没镁车姆◣熀推畚晁娜?。她只是變得現(xiàn)實(shí)了，脫離了外在和精神的雙重幻境，這難道不是最好的結(jié)局么。

不得不提的一點(diǎn)是：結(jié)尾處的椿在一點(diǎn)點(diǎn)證實(shí)這一切都只是幻境的時(shí)候，有個(gè)一直打噴嚏的人，開始不理解，后來覺得這不正是最好的旁白么。
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